A Quote by Timur Bekmambetov

The film language is still in development and the traditional dialogue is the biggest problem because nobody knows how to interpret it in 3D world. — © Timur Bekmambetov
The film language is still in development and the traditional dialogue is the biggest problem because nobody knows how to interpret it in 3D world.
I'm not a massive fan of 3D. I've seen some good 3D, and I've seen quite a lot of bad 3D. I think if a film is created for the shock effect of 3D, then it's a certain type of film that I'm not massively bothered about.
Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.
I think some people feel that if you are going to have 3D, then you have to shoot in 3D, but they shoot 3D, so of course they're going to say 'my way of doing a film is better.' I'm not telling anyone how they should do their film, so why should anyone tell me how I should do mine?
The cool thing about 'Spy Kids 3D: Game Over' was that Robert Rodriguez brought back 3D. I feel like he did with that film. Now, every film is 3D.
To me, still my favorite 3D film is 'Dial M for Murder.' I thought that was great. Hitchcock used it, could put you in the room, which I thought was fantastic, but I'm still not a devotee of 3D.
I've always been a fan of 3D, going back to movies in the '50s. I was part of the early '80s 3D craze, which was coming at you in Jaws 3D, so I've always wanted to make a 3D film.
I am very excited because 'ABCD' is India's first dance film. I am also thrilled because the film is in 3D. People will be able to see my dance in 3D.
So it [3D] is something I'm still learning, it's fresh, so if the budget allows I'll do it again and just see how far it goes because it's the frontier, it's more interesting. It's still expensive, the projection system can be annoying sometimes, it's not really regulated or perfected yet, so it's still expensive. If I do a lower budget I'll just do 2D, but if the budget allows I think I'll try 3D.
An indefinable something is to be done, in a way nobody knows how, at a time nobody knows when, that will accomplish nobody knows what.
For the rhapsode ought to interpret the mind of the poet to his hearers, but how can he interpret him well unless he knows what he means?
I think, if allowed, 3D is a new film language. I can have more adventure exploring a new media, that's very exciting. 2D we know most of it, things haven't changed for decades; it's the same principles, so 3D's more exciting.
But the underdog socialists' biggest problem isn't that they are wrong. They are not. Their biggest problem is that they're dull. Dull as a doorknob. They've got no story to tell; nor even the language to convey it in.
3D needs a trained eye. It can't be done by everybody. People who just do 3D just for the sake of commercializing their movie another five or six percent and they don't know really how to do it, they should care how to do it better by bringing other directors and collaborators into their lives to help teach and instruct how you really make a 3D movie because it's not just like putting a new lens on a camera and forgetting it. It takes a lot of very careful consideration. It will change your approach to where you put the cameras. So, 3D isn't for everybody.
I'm definitely scared about newspapers. The problem is nobody wants to catch a falling knife, and nobody knows where things will stabilise. The value of newspapers has dropped significantly. I think we still have more pain to be felt.
I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.
The Iron Man came to the top of the cliff. How far had he walked? Nobody knows. Where did he come from? Nobody knows. How was he made? Nobody knows. Taller than a house the Iron Man stood at the top of the cliff, at the very brink, in the darkness.
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